in almost every picture.
To walk with. To dance with. To have. To know. To witness. To share. To dream with. To swim in the sea with. To eat with. To talk to. To hold. To experience. To travel to many places with. To laugh with. To read with. To openly admire. To meet. To disagree occasionally with. To yawn together. To follow along. To explain. To hug. To run to. To consult. To miss. To illustrate. To trust. To live with. To sing with. To surprise. To be there for. To offer opinions to. To lie down in the shade with. To sip lemonade with. To touch. To humor. To adore. To wish for more together. To sit next to. To find.
To entertain. To please. To understand. To bring a glass of water to. To find. To joke around with. To place in almost every story. To calm. To go to the cinema with. To play with. To sleep with. To give flowers to. To take the time to listen to. To worry about. To make happy. To favor. To apologize to. To address a postcard to. To drive with. To smell. To splash. To giggle with over something unexplainable. To awaken to. To gape at. To approve. To decide with. To love. To feel at home with. To remember. To arrive on time to. To arrange a plan with. To honor. To clean up after. To check the shoe size of. To be a fan of. To romance. To make comfortable. To never forget. To see in almost every picture.
Nยบ 3 / June 1956 / Tamarin
Nยบ 4 / June 1956 / Tamarin
Nยบ 5 / June 1956 / Tamarin
Nยบ 11 / July 1956 / Cala Grifen
Nยบ 13 / July 1956 / Cala Grifen
Nยบ 14 / July 1956 / Puerto de Clamรก
Nยบ 20 / August 1956 / Lloret-de-Mar
Nยบ 23 / April 1957 / Zaragoza
Nยบ 28 / June 1957 / Badalona
Nยบ 31 / July 1957 / Palamts
Nยบ 32 / July 1957 / La Fosca
Nยบ 36 / July 1957 / Cap Roig
Nยบ 37 / July 1957 / Calella de P.
Nยบ 43 / July 1957 / Sa Tuna
Nยบ 46 / July 1957 / Estartit
Nยบ 61 / October 1957 / Pedralbes
Nยบ 69 / October 1957 / Barcelona
Nยบ 73 / July 1958 / Tossa de Mar
Nยบ 76 / July 1958 / Cap-Roig
Nยบ 81 / July 1958 / Llafranch
Nยบ 87 / July 1958 / Llansa
Nยบ 89 / July 1958 / Argua-Blova
Nยบ 92 / July 1958 / Aigua Blava
Nยบ 95 / August 1958 / Tibidabo-Agosto
Nยบ 100 / October 1958 / Andorra
Nยบ 102 / November 1958 / Barcelona
Nยบ 104 / November 1958 / Barcelona
Nยบ 106 / January 1959 / Andorra
Nยบ 112 / January 1959 / Andorra
Nยบ 113 / April 1959 / Nonasterio-de-Piedra
Nยบ 122 / April 1959 / Madrid
Nยบ 128 / July 1959 / Camp de Mar
Nยบ 132 / July 1959 / Pagvera
Nยบ 133 / July 1959 / Pagvera
Nยบ 141 / July 1959 / Barcelona
Nยบ 142 / July 1959 / Formentor
Nยบ 147 / July 1959 / Formentor
Nยบ 150 / August 1959 / Tamarin
Nยบ 152 / August 1959 / Aiga-Xelida
Nยบ 163 / July 1960 / Tamarin
Nยบ 184 / September 1960 / Barcelona
Nยบ 196 / March 1960 / Andorra
Nยบ 197 / April 1960 / Camino Balagver
Nยบ 207 / April 1960 / San Sebastian
Nยบ 218 / February 1961 / Andorra
Nยบ 225 / May 1961 / Elche
Nยบ 226 / May 1961 / Elche
Nยบ 233 / May 1961 / Peniscola
Nยบ 241 / May 1961 / Valencia
Nยบ 247 / July 1961 / Cannellas (Rosas)
Nยบ 249 / July 1961 / Cannellas (Rosas)
Nยบ 264 / July 1962 / Rosas
Nº 276 / July 1962 / Cala “Pedrosa”
Nº 278 / July 1962 / Cala “Pedrosa”
Nยบ 281 / July 1962 / Aigvablava
Nยบ 282 / July 1962 / Aigvablava
Nยบ 284 / August 1962 / Faro San Sebastian
Nยบ 292 / September 1962 / Salou
Nยบ 295 / December 1962 / Porto Frasno
Nยบ 297 / December 1962 / Alcala Henares
Nยบ 310 / December 1962 / Aranjvez
Nยบ 335 / June 1963 / Puigcerda
Nยบ 351 / October 1963 / Andorra
Nยบ 370 / July 1964 / Aigvablava
Nยบ 376 / July 1964 / Aigvablava
Nยบ 377 / July 1964 / Tamarin
Nยบ 380 / July 1964 / Barcelona
Nยบ 397 / April 1965 / Andorra
Nยบ 398 / April 1965 / Andorra
Nยบ 412 / July 1965 / Calella de P.
Nยบ 413 / July 1965 / La Escala
Nยบ 424 / August 1965 / Porto Portalet
Nยบ 436 / August 1965 / Valle Ordesa
Nยบ 453 / August 1965 / Torla
Nยบ 469 / July 1966 / Monells
Nยบ 487 / November 1966 / Peurto Marolla
Nยบ 490 / November 1966 / Fuentes Llobregat
Nยบ 503 / July 1967 / Axgva-Blava
Nยบ 518 / September 1967 / Montserrat
Nยบ 521 / September 1967 / P. de Sau
Nยบ 522 / September 1967 / P. de Sau
Nยบ 534 / July 1968 / Dolmen
Nยบ 535 / July 1968 / Dolmen
Nยบ 547 / July 1969 / Sariera
Nยบ 554 / July 1969 / Volpellach
Nยบ 555 / December 1969 / Alcala Henares
These photographs taken by a Husband of His Wife during the years 1956-1968 are remarkable for their
consistency. They are relaxed, but very arranged. They are amateur, but professional. They are everyday, yet unique.
In almost every picture, we see Her centered and gracefully posed. We start to recognize Her and know
Her. We form a relationship with Her that grows during the 12 years of portraits. We travel with Her to different places. We see Her age. We see Her different hairstyles. We see Her tastes in fashion change. We see a hint of Her different moods. We begin to formulate an idea of what She might be like and what She might be thinking. And then, we begin to see the photographer.
After seeing a few of these portraits, We instantly recognize His style of photography. The photographer,
over the years, has become an expert in this type of picture-making. This is His technique. This is His art. And we see that He has planned everything down to the last detail.
We can only imagine the scene year after year. “Stand there.” “Sit there” He walks back a short distance.
“Look this way.” Holds up the camera. “Wait a moment.” “That’s right.” He centers Her in the frame. He takes a photograph. He has the photograph developed. He writes the date and location on the photograph. He adds it to the collection. Repeat.
What is wonderful to consider is that this 12-year reportage was unplanned. It happened this way only
because the photographer instinctively shot His portraits in this manner. There was no grand plan for an extensive opus, only the extensive opus that He and She lived in Their lives together. On every holiday, tour or place They were together, He took a picture of Her to record the time and experience. This is Them.
And now we see the pictures in a way that was never intended. We have the chance to look inside a private
collection of private memories. And, in so doing, our memories, or ideas for Their memories, overlap, overwhelm and extend the existing memories in these images, these moments recorded on film. We add a new meaning to the initial meaning or intended meaning of these photographs. We visit Them, see Them, know Them and live with Them by chance. So, what is the true meaning of any photograph?
It’s clear there are many meanings and after that, many more.
What we photograph today can have continued meaning in a time and place somewhere else, to someone
else. What we then find is that we are all involved in every moment. We are all somehow included in what happens to all of us. We are collectively having lives, memories and futures.
And We, in one way or another, are in almost every picture.
A KesselsKramer book. December 2001. Collected, edited and designed by Erik Kessels. Words by Tyler Whisnand. Published by Artimo/ Gijs Stork, Amsterdam (NL) artimo@lostboys.nl Distributed by Idea Books (NL) idea@ideabooks.nl and D.A.P. (USA) dap@dapinc.com Pre-press by Neroc Amsterdam. Printed in an edition of 2,500 copies in Belgium by Die Keure. www.kesselskramer.com / church@kesselskramer.com ISBN 90 75380 41 0
If the portraits in "in almost every picture" belong to you, they will be dutifully returned.
ISBN 90 75380 41 0